Recording Techniques
Over the few years that I've been recording I've used a mixture of live and computer generated sounds. Getting them all to fit together and sound 'right' is a bit task in itself nevermind the writing and playing! The tables below are given as a broad generalization but hopefully should help you should you need them. Please remember there are no hard and fast rules and experimentation can lead to your very own sound.
Equalization
Kick Drum
Boost this frequency and
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this is what it boosts
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50-100 Hz
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Bottom end
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100-250 Hz
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Roundness
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250-800 Hz
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Muddiness
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5000-8000 Hz
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High-end presence
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8000-12000 Hz
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Hiss
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Snare Drum
Boost this frequency and
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this is what it boosts
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100-250 Hz
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Fills the sound out
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6000-8000 Hz
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Presence
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Hi-Hat/Cymbals
Boost this frequency and
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this is what it boosts
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250-800 Hz
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Muddiness
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1000-6000 Hz
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Presence
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6000-8000 Hz
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Clarity
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8000-12000 Hz
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Brightness
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Bass Guitar
Boost this frequency and
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this is what it boosts
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80 Hz
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Body/Booming
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120-400 Hz
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Character
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400-800 Hz
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Muddiness
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800-1000 Hz
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Beefs small speakers
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1000-6000 Hz
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Presence
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6000-8000 Hz
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High-end presence
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8000-12000 Hz
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Hiss
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Electric Guitar
Boost this frequency and
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this is what it boosts
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100-250 Hz
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Body
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250-800 Hz
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Muddiness/Roundness
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1000-6000 Hz
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Edge
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6000-8000 Hz
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Presence
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8000-10000 Hz
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Brightness
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10000-12000 Hz
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Hiss
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Acoustic Guitar
Boost this frequency and
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this is what it boosts
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100-250 Hz
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Body/Thicken sound
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6000-8000 Hz
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Clarity
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8000-12000 Hz
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Brightness
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Strings
Boost this frequency and
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this is what it boosts
|
50-100 Hz
|
Bottom end
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100-250 Hz
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Body
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250-800 Hz
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Muddiness
|
1000-6000 Hz
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Crunchy sound
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6000-8000 Hz
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Clarity
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8000-12000 Hz
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Brightness
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Wind
Boost this frequency and
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this is what it boosts
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100-250 Hz
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Body
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250-800 Hz
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Muddiness
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800-1000 Hz
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Roundness
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6000-8000 Hz
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Clarity
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8000-12000 Hz
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Brightness
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Compression
General Mixing
Attack
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Fast
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Release
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0.6 sec/auto
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Ratio
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2:1 to 5:1
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Knee
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Soft
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Gain Reduction
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2-9 db(stereo link)
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Vocals
Attack
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Fast
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Release
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0.5 sec/auto
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Ratio
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2:1 to 6:1
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Knee
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Soft
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Gain Reduction
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3-9 db
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Acoustic Guitar
Attack
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5 to 15 ms
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Release
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0.4 sec/auto
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Ratio
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5:1 to 9:1
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Knee
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Soft/Hard
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Gain Reduction
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5-11 db
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Electric Guitar
Attack
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2 to 7 ms
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Release
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0.5 sec/auto
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Ratio
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9:1
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Knee
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Hard
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Gain Reduction
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5-11 db
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Kick Drum/Snare Drum
Attack
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1 to 5 ms
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Release
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0.2 sec/auto
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Ratio
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5:1 to 10:1
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Knee
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Hard
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Gain Reduction
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5-15 db
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Bass Sounds
Attack
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2 to 8 ms
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Release
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0.4 sec/auto
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Ratio
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4:1 to 12:1
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Knee
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Hard
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Gain Reduction
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5-13 db
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Wind Instruments
Attack
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1 to 5 ms
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Release
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0.3 sec/auto
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Ratio
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6:1 to 15:1
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Knee
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Hard
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Gain Reduction
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8-13 db
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Effects
Reversed Reverb
This effect creates a sense of something building up. Whereas when you normally apply reverb it adds to the end of the signal this begins before the signal.
First up, open up your audio editor and find the section to want to effect. Reverse it and then insert some silence at the end of the selected area. If it's in the middle of a audio piece remember how much you've added you may need to alter the length of your file to keep it in time with the rest of the track.
Now add some reverb to your required taste, experiment to find the right settings. Once that's done reverse the audio including the reverb tail and give it a listen.
I find this effect works best on vocals and drum parts although it's suitable for all applications.
Tempo Timestretch
This effect creates a sound very similar to what was used in Fatboy Slim's Rockafeller Skank. Used on vocals, once loaded into your audio editor select a doppler or timestretch effect(depending on your audio editor) and draw in as many up and down tempo changes across the timeline as you need. Once again experimentation lead different results!
Crunchy Samples
Use this effect if you like your beat down and dirty. Firstly find the beat sample you want to crunch and load up your audio editor. Now find the option which allows you to change the sample rate. For an old school hip-hop type sound adjust the sample rate to somewhere between 8000 and 12000 samples per second, this adds that distinctive flavour.
Also, try messing about with EQ, increasing the bottom-end for a thumping effect or top-end for a more piercing sound. But take care as mixing too much can cause the sample to eat up headroom when you come to create the full mix of your track. Just a slight change can make all the difference.
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